Fig. 265 is the re-arrangement of Fig. 264 in the order 1 2, 6 7, 3 4, 8 1, 5 6, 2 3, 7 8, 4 5. This is a regular draft obtained by skipping three shafts between each two ends. Another draft is obtained by skipping one end between each two ends drawn through the healds.

Fig. 267 is obtained by re-arranging Fig. 266 in the order of the draft 1 2, 4 5, 7 8, 2 3, and so on, the draft repeating on sixteen ends.

Another useful draft (Fig. 270) as a basis for re-arrangement is the one employed in producing Fig. 269 from Fig. 268. The order of the draft is shown along with the design; the order runs, 2 1, 3 2, 4 3, and so on, repeating on sixteen ends.

Some novel effects are obtained by re-arranging the ends of a sixteen-end twill in the order 1 4, 7 2, 5 8, 3 6, 9 12, 15 10, 13 16, 11 14. The effect of this system is shown at Fig. 272, which is the result of re-arranging Fig. 271 in the above order. The system is of course applicable to other twills than those on sixteen ends.

Twills combined to form Square Patterns.—Simple twills may be combined to form “square” patterns by taking alternate picks of each. If two eight-end twills are combined in this manner only four picks of each twill will be used in the combination. The principle will be understood from Fig. 273.

This is a pattern composed of alternate picks of two ten-end twills making an effect repeating on ten ends and ten picks. The effect given by re-arranging this in satin order is shown at Fig. 274.

Fig. 275 is a twelve-end pattern made on the same principle, and if this is re-arranged in satin order, another effect is obtained.

Fig. 276 is a sixteen-thread pattern, and when re-arranged this produces the rather peculiar pattern Fig. 277.

An immense variety of useful weaves may be obtained on this system of combination, the effects being perhaps more useful than when the patterns occupy twice as many picks as ends.

Unequal Twills combined.—Some useful fancy effects are obtained by combining two unequal twills “end and end,” or “pick and pick.” Fig. 278 shows the effect produced by combining “end and end,” a “three and two” twill, and “two and two” twill. As one twill repeats on five picks and the other on four, the combined pattern will occupy twenty picks—twenty being the L.C.M. of five and four. There will require to be twenty ends of each twill used to make up a complete pattern, therefore the combined design will repeat on forty ends and twenty picks. If a four-end twill is combined with a three-end twill in this manner, the complete pattern would occupy twenty-four ends and twelve picks, as twelve is the least number of picks on which both the four-end and three-end twills repeat.

Check Patterns produced by Re-arrangement of Twills.—If an eight-end twill “three and five plain” is re-arranged in the order 1 4, 7 2, 5 8, 3 6, the effect shown in the square A (Fig. 279), and if this be again re-arranged in the same order, the original twill results. It follows, therefore, that by placing the pattern A above the twill and drawing the ends through eight staves as indicated in the draft (Fig. 280), a check pattern will be formed. The draft which produces the crape from the twill also produces the twill from the crape. The first eight ends and sixteen picks of the design is the pegging plan. By the addition of two extra staves the floats may be prevented from passing from one square to another. To produce the check effect properly, the satin draft must be such a one that if the fourth end is drawn on the second stave, the second end must be drawn on the fourth stave. If a sixteen-end satin draft is used for making a check pattern on this principle from a sixteen-end twill, the satin draft must be selected from those which can be made on sixteen shafts, and must be such a one that exactly the same pattern will be produced in the opposite squares of the check. The sixteen-end satin which gives this effect is the one made by skipping eight ends between each lift.

Honeycomb Cloth.—In this style of cloth the threads are interlaced so as to form squares, the centres of which are lower than the ridges which form the sides. Fig. 281 is a honeycomb pattern on ten ends and ten picks. It will be noticed that the ridges or raised portions of the honeycomb are formed by the gradually increasing floats of the weft and warp threads. The hollows are formed by the threads weaving plain for a few ends and picks. Any size of pattern, within reasonable limits, may be formed on this principle. Fig. 282 is a 16 × 16 honeycomb on the same principle.

For smaller sizes the principle requires a little alteration. Fig. 283 is a good 8 × 8 honeycomb, and gives a fairly good effect even in low makes of cloth. These honeycomb weaves are used for quiltings, towellings, and for fancy goods of all kinds. Some excellent effects can be produced by combining honeycomb with satin or other weaves for striped dress goods, and similar fabrics. A good effect is given by the pattern, Fig. 284. The weave requires very thick yarns for giving the best effect. The pattern is reversible, both sides of the cloth being exactly alike.

Mock Lenos, or Lace Weaves.—These weaves are very extensively used in cotton manufacture. The imitation of leno fabrics can be made extremely close, often so close as to deceive even experienced buyers. The simplest kind is the pattern at Fig. 285, a “three and three” pattern. The threads are interlaced in such a manner that the first ends are pulled together by the second and fifth picks, and the picks are pulled together in threes by the second and fifth ends, and as the shed is crossed between the third and fourth picks, the crack in the cloth appears there. The open effect is greatly increased if the ends are reeded “three in a dent,” the first three ends in the pattern being together in one dent, so that the reed assists in forming the open effect. Sometimes the ends are reeded in threes with a dent “skipped” between each full one, and this greatly augments the open effect. A “four and four” mock leno is the weave shown at Fig. 286. To produce the best effect this requires to be reeded four ends in a dent, commencing with the first four ends in the pattern. In this weave the crack is made between the fourth and fifth ends and fourth and fifth picks. The principle of the weave is exactly the same as in the “three and three” pattern, but a slightly more open effect can be obtained with the “four and four” pattern. It is also suitable for a finer make of cloth, as the open effect can be made with a larger number of threads per inch.

A “five and five” pattern is given at Fig. 287. The second, fourth, seventh, and ninth ends serve to pull the picks together in fives, and to make a decided crack in the cloth between the fifth and sixth picks in the pattern. The same thing takes place with the ends, they are pulled together in fives, by the second, fourth, seventh, and ninth picks.

Probably the best open effect is produced by Fig. 288. This is called a “five and one” mock leno or lace. To produce the best effect, the pattern should be reeded as follows:—

Two repeats of the pattern are shown at Fig. 288, only six ends and six picks being required to weave it. The first five picks are pulled together by the second and fourth ends, and as the shed is crossed between the fifth and sixth picks and between the sixth and the succeeding pick, the single pick No. 6 is shown in the middle of the crack between the bars of five picks. The same thing takes place with the ends.

It is not absolutely necessary to reed the pattern other than two in a dent; an open effect is produced with the ordinary reeding, but the special reeding greatly increases it.

Cords.—Cords can be formed in cloth by simply making a number of threads lift together, as in Fig. 289. The cord may be made across the piece by putting a number of picks in a shed, as shown at Fig. 290. This principle of forming cords has its disadvantages. If the cord is going lengthwise of the piece a large number of picks per inch is required to give a good and fine effect, and there is always a tendency to show a perforated appearance in cords made on this principle, owing to the threads being pulled together in threes or fours, or whatever number of threads go to form a cord.

A good cord up the piece may be made by taking six or eight ends of six-end satin and two plain ends. Fig. 291 is a pattern of this kind. The six-end satin is used because the plain ends would make wrong bindings with a five-end satin and the ends would slip. This principle of making cords is very useful, as the effect being produced from the warp, the cost is less than if produced from the weft.

For dobby patterns it is necessary to keep the number of shafts as low as possible, and cords requiring only two shafts above the plain are made as in Figs. 292 and 293. Fig. 294 gives a cord across the piece, and is of rather a firmer character than an ordinary four and four cord. Fig. 295 shows a useful principle of making cords across the piece. Two picks are taken together, and three double picks from a cord. The three plain picks serve to define the cord. A better effect is obtained from Fig. 296, in which the double picks have a float of five ends. This cord is very suitable for stripes, as it combines extremely well with warp satin.

Fig. 297 gives a cord up the piece. The back of the cloth is plain, each pick taking an equal part in forming the back. The plain also serves to spread the ends, and so produces a firmer cloth than would be obtained if the cord were formed on the principle of Fig. 299. Sometimes the back of the cord is required to be rather looser, and is woven to a small twill. At Fig. 298 a twelve-end cord is shown on this principle, with a 2 and 1 twill pattern at the back.

Another form of cord is illustrated at Fig. 299. This shows a cord up the piece caused by every pick interweaving with the first and second ends, and only half the picks interweaving with the remaining six ends. The ends interweaving with half the picks are looser than the other two ends, and therefore have a raised appearance. The face of the cloth is plain, with the lines formed by the two ends running up the piece. A smaller cord is shown at Fig. 300, which repeats on six ends and four picks. Fig. 301 is a pattern composed of crossed cords. Excellent effects are obtained by combining larger cords in the same manner.

Crapes.—This is a name given to weaves of a small “seedy” effect. Good effects of this kind are produced by Figs. 302 and 303, which repeat on ten ends and six picks, and six ends and six picks, respectively. Another very largely used pattern is that at Fig. 304. This is a pattern of rather peculiar construction, as both sides of the cloth are alike, and the small floats of three are bent somewhat out of a straight line. The reason for this can be seen by a careful examination of the pattern. Patterns of the same character, but with very large repeats, are often used. In many of these there is no regularity in the construction of the pattern. The chief object is to get a perfect all-over effect free from lines or rows. This can be accomplished by keeping about the same amount of float on every pick and distributing the floats as evenly as possible. A pattern of this kind, on forty picks and sixteen ends, is given at Fig. 305. It will be seen that each pick has two floats on it.

Fancy Effects.—Some novel effects can be produced on the principle of Fig. 306. Two picks are floated on the top of a plain cloth every ten picks, and these loose picks are bound only by two ends out of every twelve. The loose picks are pulled in opposite directions by the loose ends, and the result is that small hexagonal figures are formed after the manner shown at Fig. 307. By using coloured ends and picks for the loose ones a still better effect is obtained.

Crimp Stripes.—These are usually produced by having two warps at different tensions. The warp to weave the crimp is lightly weighted as compared with the warp of the other stripe, which may be plain or satin as desired, and is let off intermittently. If the crimp warp is very hard twisted the effect is increased. Fig. 308 is the design of a crimp stripe of rather a novel character. The ends woven entirely plain are on a beam lightly weighted, whilst the other ends are heavily weighted. The first two picks are of ordinarily twisted weft, and the third and fourth picks are very hard twisted. These picks are thrown to the back, and take no part in forming the cloth in one portion of it. The consequence is that these picks, loose at the back of the cloth, and being very hard twisted, pull the two edges of the stripe closer together, and thus form a crimp or “tuck” the length of the piece. The plain ends form a crimp in the ordinary manner, owing to being lightly weighted.

Huck Patterns.—This is the name given to a class of patterns used for towellings. The object is to get a firm cloth with a rough surface. Fig. 309 is a weave of this description, but there are many others in use. The pattern repeats on ten ends and eight picks, and can be drafted down to be woven on five shafts.

Extra Warp.—When some warp ends are used for figuring without taking any part in forming the ground or body of the fabric, they are termed “extra warp” threads. The principle is much used for putting coloured spots or figures on grounds of a different colour or material. In Fig. 310 the ends on which the black squares occur are “extra ends,” as they take no part in forming the ground of the fabric. In this figure the black squares represent the warp lifted. Where the extra warp is not forming the figure it is thrown to the back of the cloth, where it hangs loosely unless it can be bound into the ground cloth or cut off. Two or three differently coloured spots may be formed one above the other. Fig. 311 will show the principle of this. The ground of the cloth is plain, and these ends are distinguished by the small dots in the design. The first and second ends in the design are supposed to be of different colours. This design will repeat on forty picks, and any desired number of ends may be used between each stripe for the ground. The extra warp must be put “extra” in the reed, so that, supposing there are two ends in a dent in the ground, there would be six in a dent where the two extra warps occur. The principle is useful for obtaining a large width of pattern.

The extra ends may be of the same colour as the ground, but of thicker material, and may be used with the object of increasing the width of the pattern. Fig. 312 is a small striped design illustrating this principle. The ground is plain, and the extra warp threads, if of sufficient thickness, give a bold well-covered figure, which enables the design to be woven on nine shafts.

Extra Weft.—Extra weft spots may be woven on exactly the same principle by taking the weft “extra” instead of the warp. Fig. 313 is a small spot design on the “extra weft” principle. The cloth would require to have twice as many picks per inch as there are ends per inch.

The ground may be either plain, twill, or satin, but if it is required to bind the extra material a twill is preferable.

Fig. 314 is the commencement of a small design for an extra weft figure on a “two and two” twill ground, showing how the extra weft may be bound to the ground of the fabric without showing through to the face. The extra weft may be brought up under the weft floats of the twill, and if a fair quantity of material is used the binding will not be visible on the face of the cloth.

It is impossible to bind extra weft to a plain ground or to a warp satin ground in the ordinary manner, as there is no float to hide the binding under. It may, however, be bound to a warp satin ground by means of stitching threads, after the manner shown in Fig. 315. This is an extra weft spot on a warp twill ground, and the loose picks at the back of the cloth are bound by the stitching thread A. This thread is really an extra warp thread, and it is lifted in such a position that the binding is hidden under the warp floats of the twill ground. One of these threads may be used at intervals of an eighth to a quarter of an inch.

In binding extra warp the same principle applies. Extra warp may be bound to a warp ground by lifting it between two warp floats, or it may be bound to a weft ground by using an extra stitching pick on the principle illustrated in Fig. 315.

Extra warp or weft is often used to produce a solid figure on a light or open ground. Fig. 316 is a small design of this kind, in which one half the picks are thrown out of the cloth in the ground of the pattern. The design gives a very close imitation of a figured leno cloth, if woven with suitable yarns. To obtain a good effect there should be at least twice the number of picks per inch that there are ends or warp threads. When the cloth is taken out of the loom the loose threads are clipped and passed through a shearing machine, where the loose threads are cut off close to the figure.

The extra picks should be bound round the figure by weaving plain for a few ends, to prevent the extra material being pulled out of the figure in clipping or shearing.

Extra Warp and Extra Weft combined.—Where extra warp and extra weft are used together in the same part of the design, the structure is a little more complicated.

A small check pattern of this description is given at Fig. 317. Every alternate end and every alternate pick are extra, and all the even numbered ends and picks belong to the ground cloth, which in this case is woven plain.

In making designs employing both extra warp and weft, it is advisable to put the dots of the ground weave on the point paper first. Then dots may be put on to lift the extra warp where it is required to form the figure, and if it is required to throw the extra weft to the back of the ground cloth when the extra warp is on the face, the ground ends must be lifted on the extra weft picks where required.

In Fig. 317 the ground weave is shown in solid squares; the extra warp is lifted by the small circles, and the extra weft is thrown to the back of the plain cloth by the small dots, which lift all the ground ends on the extra picks where the extra warp is lifted. This design is made for single picks, but in the majority of looms there are only change boxes at one side, and so the design must be arranged for two picks alternately of ground and extra weft.

Double Weft Face.—Double weft-faced cloths are made on the principle shown at Fig. 318. There is a face weft and a backing weft, and both sides of the cloth may be made alike by using only one count of weft.

The pattern is a four and one twill for both face and back, and it is important that the binding should take place under the floats of the twill, after the manner described in binding extra weft.

The face pattern may be different from the back, but it is not possible to back a cloth with every pattern on this principle, as the binding must not show through to the face, and therefore the back pattern must be selected so as to give this result.

Fig. 319 is an eight-end twill backed with weft, the back pattern in this case being a “seven and one” twill.

Suppose it is desired to put a weft back to the pattern, Fig. 320, and to have two face picks to one back pick. The face pattern must be put on the face picks as in Fig. 321, and the back pattern must then be put on in such a manner that where the backing weft is passing over one of the warp threads there must be at least one weft dot above and below it, as in Fig. 321.

Two wefts of different colours may be made to form reversible figures by making them change places, first one being on the face, and then the other. The principle is shown at Fig. 322, where the alternate picks are of different colours. The two wefts should be thick enough to cover well, and a fine warp should be used.

Double Warp Face.—This is the same as “double weft face” weaving, with the exception that two warps are used instead of two wefts. A four and one twill backed with warp is shown at Fig. 323. It is necessary to have the warp threads close enough together to hide the bindings. Fancy patterns may be backed with warp by binding the backing warp under warp floats in the face cloth.

Corkscrew twills are those which have a warp face on both sides of the cloth. The weave is chiefly used in the manufacture of worsted coatings, and similar goods, but is often employed in cotton designs. An eleven-thread corkscrew is given at Fig. 324, and a fifteen-thread pattern is given at Fig. 325. The weave requires a large number of warp threads per inch to give a good effect.

Padded Cloths.—To obtain a raised effect on cords or figures, thick weft may be inserted between the face and back cloth, or between the face cloth and backing ends when there is no backing weft used. This thick weft takes no part in forming either the face or back cloth, and is simply held in position by the binding of the backing material to the face cloth.

A simple example of this principle of weaving is given at Fig. 326. This pattern may be woven with one shuttle, and a fine raised cord across the piece is formed. The backing warp threads, on which the solid squares are placed, should be on a separate beam, and should be heavily weighted as compared with the other ends. All the marks in the design represent the warp lifted, so that the empty squares represent warp left down. It will be noticed that the heavily-weighted ends are only lifted for two picks in every ten, and this forms a cord effect. There are three picks in each cord which do not interweave with either the face or backing ends, but they serve to increase the boldness of the cord by giving it a raised appearance. The three picks which form the padding are the second, fourth, and sixth in the design.

The section at Fig. 327 will better explain the principle of the pattern. There are five plain picks in the cord, two plain picks between the cords, and three padding picks, making altogether ten to the round. These cloths are known as Piqués.

Another padded effect is given at Fig. 328. The double pick is the padding weft, and should be of thick material. The plain face cloth is developed in small dots, and the backing ends in solid squares. The padding picks in this pattern are pulled out of a straight line, and a diamond effect is produced on the cloth.

Double Cloths.—Double-warp-face and double-weft-face cloths are usually classed as double cloths, but they are essentially different from double cloths made from two warps and two wefts.

Figs. 329 and 330 will show how two separate cloths, one above the other, can be woven in one loom. The first figure shows one of the face ends only lifted, and a pick being put in the face or top cloth. It will be noticed that both back ends are in this case down along with one of the face ends. The second figure shows both face ends lifted and one of the back ends, whilst a pick is being put in the back cloth.

Two separate cloths of any pattern may be woven by simply lifting the face ends out of the way when a pick is being put in the back cloth.

If a pick is put in the face and back cloth alternately, the cloths will be bound together at both selvedges; but if two picks are put in each cloth alternately, they are only bound at one side. This will be seen from Figs. 331 and 332. In the former the pick passes from the face cloth to the back cloth at one side, and from the back cloth to the face cloth at the other side of the loom. In Fig. 332 two picks are put in each cloth in succession, and the cloth will open out to double the width of the loom. The former principle is used for weaving sacks, meat-bags, and seamless pillow-cases. In putting double cloths on point paper it is usual to use different colours or marks for the face and back cloths respectively, and also for lifting the face cloth when weaving in the back one. It is also advisable to always take the dotted squares as warp lifted.

The following directions for double cloth designing will be found useful.

First mark off the face and back ends and picks respectively. Then on the face ends and face picks put the face pattern, and on the back ends and back picks put the back pattern. On every back pick lift every face end. This will make the two cloths separate.